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she is beautiful but not reliable, at least not in matters of money. To pay off the loan, Nora had to work in the late evenings; it was the only job she could find: copying by hand. In addition, she asked for more money for the household. Just like my father, Helmer suspected that she was being too lavish. Nora plays her role, because this allows her to set aside money from the household. My mother did the same thing – although her motive was to secure enough money for her personal needs. Although Nora knows that the means are wrong, she hopes that “the most wonderful” will happen: that Helmer will recognise her deeds as acts of love and forgive her. In the end Helmer does forgive her, in the sense that she is reinstated as a doll in a doll’s house: “You have loved me as a wife ought to love her husband. Only you had not sufficient knowledge to judge of the means you used. But do you suppose that you are less dear to me because you don’t understand how to act on your own responsibility? No, no; only lean on me; I will advice and direct you. I should not be a man if this womanly helplessness did not just give you a double attractiveness in my eyes.” And when Nora does not seem to understand, Helmer underlines that he has indeed forgiven her: “You have no idea what a true man’s heart is like, Nora. There is something so indescribably sweet and satisfying, to a man, in the knowledge that he has forgiven his wife, forgiven her freely, and with all his heart. It seems as if that has made her, as it were, double his own; he has given her a new life, so to speak; and she has in a way become both wife and child to him. So you shall be for me after this, my little scared, helpless darling.” Forgiveness is often defined as reinstating the person you forgive in the same position. This is also the difficulty in most cases. In this case Helmer has no problem with reinstating Nora; in fact the more helpless she is, the more lovable and attractive she becomes to him. This is, however, no longer a position Nora wants. Instead, she asks Helmer why they have never had a serious conversation in their eight years of marriage. Helmer wonders what good that might have done her. Should he have told her about his financial troubles? Nora: You have never understood me, I have been greatly wronged, Helmer. First by papa and then by you. Helmer: What! By us, by us two, who have loved you better than anyone else in the world? Nora: You never loved me. You have only thought it pleasant to be in love with me. 56
Nora continues to state how her father raised her by telling her his opinion about everything and expecting her to listen and agree. Her father played with her like she played with her dolls. When she was ‘transferred’ to Helmer, he continued the same pattern and arranged everything according to his taste. Nora: You and papa have committed a great sin against me. It is you fault that I have made nothing of my life. Although Nora does give credit to Helmer for having been good to her, their home has been a doll’s house. She has been Helmer’s doll-wife, just as she was her father’s doll-child, and Nora’s children have been her dolls. Nora found it great fun when Helmer played with her, and the children enjoyed it when Nora played with them. Helmer then announces that playtime is over; it is time for some education. He will educate Nora. Nora however wants to educate herself. Helmer: You are first and foremost a wife and a mother. Nora: I don’t believe that any longer. I believe that before all else I am a reasonable human being just as you are, or at all events, I must try and become one. I know quite well, Helmer, that most people would think you right, and that views of that kind are to be found in books; but I can no longer contend myself with what most people say, or with what is found in books. I must think things for myself and get to understand them. When Helmer questions her lack of moral sense, Nora struggles to respond. Nora: The thing perplexes me altogether. I only know that you and I look at it in quite a different light. I am learning too, that the law is quite another thing from what I supposed, but I find it impossible to convince myself that the law is right. According to it a woman has no right to spare her old dying father, or to save her husband’s life. I can’t believe that. When Helmer reproaches her for speaking like a child with no knowledge of the society in which she lives, Nora agrees, realising that she needs to find out whether the laws of society are just or have to be adjusted. Blamed for being out of her mind, Nora states that her mind has never been as clear and certain as now. When Helmer says that she does not love him any more, she agrees. This is why she cannot stay any longer. “The most wonderful” did not happen. And she no longer believes that it can happen, at least not to her and Helmer. 57
Page 1:
Teaching Subjectivity Travelling Se
Page 4 and 5:
Series editors: Annika Olsson, Andr
Page 6 and 7:
Part II: Travelling Selves: Voices,
Page 8 and 9: oader educational field, including
Page 10 and 11: educational and cultural background
Page 12 and 13: objective conditions for creating v
Page 14 and 15: only through resonance with them an
Page 16 and 17: the subjects revealed in the autobi
Page 18 and 19: While sharing this perspective, I h
Page 20 and 21: The experience of loss and the cons
Page 22 and 23: vulnerability and a beholdenness th
Page 24 and 25: Global vulnerability as the conditi
Page 26 and 27: iousness. Emotions, says Nussbaum o
Page 28 and 29: within”: “the person who comes
Page 30 and 31: the contrary perturb me, make me qu
Page 32 and 33: possibility that the other will des
Page 34 and 35: Honneth, Axel. Struggle for Recogni
Page 36 and 37: secondly how to respect and love th
Page 38 and 39: is no longer a loss but an impetus
Page 40 and 41: automatically the other within the
Page 42 and 43: dern philosophy between rationality
Page 44 and 45: ground for an ethics, because an et
Page 46 and 47: Implications for teaching When I or
Page 48 and 49: Rawls, John. A Theory of Justice. C
Page 50 and 51: gies, in their trickle-down effect
Page 52 and 53: Through traveling to other people
Page 54 and 55: My mother, her myths and her life;
Page 56 and 57: “But we can take out a loan”, N
Page 60 and 61: Something has happened to Nora; she
Page 62 and 63: According to Daphne Hampton, the re
Page 64 and 65: to change. Leaving the mothers out
Page 66 and 67: process enacted in dialogue between
Page 68 and 69: Lugones, Maria. “Playfulness, ’
Page 70 and 71: ownership of their own selves, word
Page 72 and 73: had no clue, aside from my inexplic
Page 74 and 75: “You should know her, I will intr
Page 76 and 77: Why would female university profess
Page 78 and 79: a ‘materiality’ of connections,
Page 80 and 81: Feminist place(s) were re-invented
Page 82 and 83: in the space of an unfinished conve
Page 84 and 85: a new framework for understanding a
Page 86 and 87: nisms in a Transnational Perspectiv
Page 88 and 89: space’. The intention is to illum
Page 90 and 91: countries should not be exposed to
Page 92 and 93: Where you are from? From Yugoslavia
Page 94 and 95: and of positioning of self during m
Page 96 and 97: A long time has passed, time marked
Page 98 and 99: It will happen again in Houston: Th
Page 100 and 101: ‘before’ has been cancelled wit
Page 102 and 103: But we are also conscious that what
Page 104 and 105: The other aspect of the feminist pe
Page 106 and 107: Uzun, Mehmed. “Una rinascita curd
Page 108 and 109:
experiences it in-between her past
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life experiences and heal the wound
Page 112 and 113:
As Di Michele illustrates through h
Page 114 and 115:
I learned that Beppe would soon be
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salt. The potatoes open and smoke w
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The definition of a “third space
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In a diasporic context, it is not u
Page 122 and 123:
Maccaferri Randaccio, Elena. “Ric
Page 124 and 125:
And yet, the will to believe, the w
Page 126 and 127:
This pre-eminence of writer-nuns is
Page 128 and 129:
Saying that they have been excluded
Page 130 and 131:
“call”, which normally comes ea
Page 132 and 133:
Em alguns dos dedos tinha anéis fo
Page 134 and 135:
Radical exposure of the self The na
Page 136 and 137:
A rhetoric of joy Following the enc
Page 138 and 139:
Resorting to unarticulated cries, t
Page 140 and 141:
Furthermore, a reading of the autob
Page 142 and 143:
Mendes, Margarida Vieira. Rimas Vá
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Blanchot, Maurice. The Unavowable C
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Derrida, Jacques. “Jacques Derrid
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I Ibsen, Henrik. A Doll’s House.
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Milheiro, Dalila. “A Fiel e Verda
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S Secomb, Linnel. Beauvoir’s Mino
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LIST OF CONTRIBUTORS Silvia Caporal
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